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Necromancer? I Hardly Know Her!

No, sorry. That screen capture was taken from a PRIVATE chat conversation between the two people, not from a personal profile or a public page. It's exactly like posting an email conversation. Now, it's somewhat clear that one of the two parts shared that tidbit with a third party, thinking it would never be posted publicly on a discussion board, but things got out of hands. I'm sure Steef posted this in absolute good faith, but let's not crawl on mirrors to justify anything.

- Superhero Soundtracks - Concert to Feature World Premiere of The Dark Knight, X-Men, The Amazing Spider-Man and More PRLog - April 15, 2015 - LOS ANGELES -- (Hollywood, CA) – April 15, 2015 – On Saturday, April 18, the Golden State Pops Orchestra (GSPO) will bring the most memorable and iconic superhero melodies to life with Superhero Soundtracks at the Warner Grand Theatre (478 W. 6th Street, San Pedro, CA). The exhilarating concert will take the audience on an adventure with their favorite heroes of past and present, highlighted by several world premiere arrangements. The concert will feature scores from composers including John Williams, Hans Zimmer, Danny Elfman, and many more. There will also be special guests in attendance. Past guests have included Zimmer, Elfman, Marco Beltrami, and John Debney. Tickets for this one-of-a-kind concert are available now at www.GSPO.com or by phone at 310-433-8774. - Full press release CONCERT PROGRAM World premiere arrangements of: Agent Carter (composer Christopher Lennertz, guest conductor)Agents of S.H.I.E.L.D. (Bear McCreary)Teenage Mutant Ninja Turtles (Brian Tyler)The Amazing Spider-Man (James Horner)The Dark Knight trilogy (Hans Zimmer, James Newton Howard)X-Men: Days of Future Past (John Ottman)And also featuring music from: Batman (Danny Elfman)Captain America (Alan Silvestri)Iron Man 2 (John Debney)Superman (John Williams)The Avengers (Alan Silvestri)The Incredible Hulk (Joe Harnell) - - "Lonely Man" Theme featuring Jonathan Hughes, pianoThe Last Starfighter (composer Craig Safan, guest conductor)Thor (Patrick Doyle)Full details

I like the FlameTooper. Klaatu barada nikto!

I'd actually like it if Williams wrote something like that into the score. It worked for THE PATRIOT. <iframe width="420" height="315" src="https://www.youtube.com/embed/m86mrCiZU5A?rel=0" frameborder="0" allowfullscreen></iframe>

New Storm Troopers, made by Toyota!

I never got how everyone has deluded themselves overtime that Star Wars dialog has ever been anything other than one huge cringe-fest. Cringe is what makes Star Wars Star Wars! Anyways, photos of some costumes and props from Reddit, lots of ugly Stormtrooper uniforms! http://imgur.com/a/YLeIZ I wouldn't judge any CGI right now. The shot will most likely get redone by release, a couple of times.

BB-8?

If anything sets the overall tone in this trailer, it's the music. Some thoughts: 0:06 - Interesting EMPIRE STRIKES BACK-like "gloomy" celesta figure. 0:16 - Very A NEW HOPE-like, nostalgic incarnation of the Force theme. 0:23 - The double basses seem to add depth and a little weight to the music - perhaps to accentuate the appearance of the gigantic Star Destroyer? 0:32 - Tender F# on the piano. Gloria Cheng got her part to play! 0:36 - Beautiful funereal chords orchestrated for low brass, quite perfectly fitting the dramatic imagery and lighting. The major chord at 0:48 comes quite unexpected and creates a sense of hope. 0:52 - The return to minor mode, however, resumes the dramatic, funereal mood. 1:01 - The Force theme is continued, again creating a sense of hope and nostalgia. 1:05 - A series of highly dramatic trumpet chords, accentuated by low brass, timpani and percussion and accompanied by high sustained strings and ad lib. harp glissandi set a tense, tragic atmosphere against the battle imagery. 1:18 - Finally releasing all previously built tension, the YODA AND THE FORCE fanfare majestically concludes the trailer cue, highlighting the nostalgia implied in Ford's line, pausing before it and reaching its climax afterwards to emphasize it so as to increase its dramatic impact. It's the alternation between the hopeful and the dramatic that makes Williams's trailer cue so incredibly moving.

All you have done in this thread today is moan and attention seek. Fuck off back to Middle Earth and leave the fans here to their excitement.

As with the first teaser, I just love how Williams completely re-contextualizes these snippets of earlier music. Very elegantly done!

I love the look of the first shot. It looks like a matte painting, but that's why I like it.

William Ross, arranged by Conrad Pope.

I thought Ford was great in this little glimpse

Same, but I know my anticipation will shoot through the roof the second that opening fanfare kicks in...even if the film can't live up to it. Yeah, like TPM... until you started reading the crawl.

I'm more excited for Williams' music than the film itself.

the "victory" at the end of Return of the Jedi always seemed like a minor setback for the Empire to me

A certain level of extremely basic and diluted feminism like sometimes in the comics would be appropiate here. On the other hand, it's a DC film and they seem to really like their Frank Miller. Who knows.

A new clip has been released with some score in it! The beginning of the clip must be Joy's theme--it sounds similar to the "Bundle of Joy" cue that was used in the Spanish trailer. I can't wait to hear more!

That guy looks like Darth Revan.

Run Forest River Run! or Bombur's Barrel of Laughs Necromancing the Arkenstone The Brave and the Bolg World's Worst Dragon Trap Bard Bows Out Giant Golden Statues Can Suck It! Dwarfed by Thorin Bard Wired Defence

Well naturally. I don't think anyone was expecting a self-contained adventure. At the beginning, I personally really liked the idea of incorporating Dol Goldur, and throwbacks to LOTR, so long as it was done with balance, which I was confident it would be. But there was so much emphasis on those throwbacks, and Sauron and the Ring, that the trilogy often loses sight of the main story here, and that's Bilbo's. Which is why I agree with Barny that the ending falls a bit flat. Would have been nice to have just seen more of Bilbo's side of things rather than ceaseless PJ spectacle. The occasional Bilbo monologue just doesn't quite cut it.

In general, I find the ending too ominous for my taste - the farewell scene with Gandalf, for example, I hoped to be more heartfelt and emotional. As it is, it's as though they barely know one another anymore than they did at the outset. Then we have the auction music, and then the ring bit in the home. It's too ring-centric for me, and conscious of being 3 of 6 rather than 3 of 3, if you catch my drift. This is where the LOTR link went too far IMO, PJ being more concerned about the set-up to FOTR rather than giving proper closure to The Hobbit. There are some great poignant and reflective bits - 'he was...my friend', Bilbo wandering around an empty Bag End - we just needed some more of that. Again, maybe the EE will change a few things. The longer journey home should at least give us better closure for Bilbo and Gandalf's relationship.

Elfman- Smile or I'll make sure you'll never work in this town again!

The picture has a certain 'David Geffen with new, unnamed toyboy' ring to it.

I believe Hans Zimmer did, yes. Ocean's 11 - David Holmes Chinatown - Jerry Goldsmith Blade Runner - Vangelis

I know for screenplays, the rule is always "&" if they wrote together, "and" if they wrote separately.

Oh yeah, forgot that one. Not a fan of that movie at all.

You must hate "The Battle of Hoth" then.

I always enjoyed seeing it in red for the Making of Raiders of the Lost Ark. And here is an evolution of it: http://www.closinglogos.com/page/Lucasfilm+Ltd.

As an eulogy to Marianelli's PAN score (RIP) i put on a bright, sunny and occasionally impressionistic score of his that i happen to like quite a bit.

That was a much more interesting film.

The Incredible Hulk (2008) Ang Lee's Hulk was a flawed, but interesting attempt at this material which provecit could be done with real psychological depth.. Sadly the follow-up, which is more of a reboot then a sequel abandons the more cerebral tone of the first film nad goes for a lot of action and rather offputting macho-posturing. Appartently much of the script was rewritten by Ed Norton, who stars as Bruce Banner. If true, then it's interesting that he wasnt even able to bring much life in his own character. Who is largely a cypher who spends much of the movie sullen or suffering. Ed Norton CAN be an engaing and interesting actor in some cases, but this is not one of them. Bill Bixby proved that the character of Bruce Banner could be played with real pathos, as did Mark Ruffalo, who had a much smaller amount of screen time. The rest of the cast doesnt fare much better, in roles you think they would be ideally suited for. William Hurt's General Ross isnt just unsymphatetic, he's boring. Roth's Blonsky get's almost zero characterization before turning into a dull CGI monster and Liv Tyler looks as great as ever, but plays an empty role. Interesting that this early MCU films lacks the typical humor that has a hallmark of the brand. There are a few attempts but they mostly fall flat. (the "Hulk smash" line here doesnt have any of the impact that the same line has a few years later in The Avengers) Speaking of the Hulk, the design obviously looks very different from the Ang Lee version. But the shade of green looks wrong, too dark. And the overly ripped design looks unappealing. The effects, while decent arent quite up to the usual Marvel standard. A very forgetable film, which is normal for Marvel, but I didnt have a lot of fun watching it either. Even less to then Thor 2.

The old logo signals that a good movie is beginning. The new logo signals that shitty movies are starting.

One could argue Luke and Leia's theme is a love theme.

I've seen more cheer in a graveyard.